This hallway sequence functions primarily as a visual escalation of the demon’s abilities and an articulation of its connection to the father. The shot opens with Lina entering from the left side of frame while the demon appears on the right. This left–right opposition is consistent with the visual language established earlier: left-to-right signals characters not under possession, right-to-left signals possessed or corrupted entities. Their positions reinforce that contrast.
The demon initially appears as a shifting blob. This form represents its most basic state, before it commits to any stable shape. Presenting it this way communicates instability and a lack of fixed identity, which is relevant to the internal collapse occurring in the backstory.
The creature then expands vertically into a tall humanoid form with exaggerated and distorted fingers. The goal here is to demonstrate spatial dominance and to show the demon’s ability to change shape rapidly. During this transformation, the frame itself distorts. This distortion is intentional and is used to imply the demon is interacting with the physical environment, not simply occupying it. Earlier distortions were used for subjective or atmospheric reasons; here, they are tied directly to the entity’s presence.
A subsequent stage involves the demon folding upward into a hanging mass. While not literally a cocoon, it functions symbolically in relation to themes of birth and rebirth that appear elsewhere in the film, including the tunnel sequence. It visually reinforces the idea that the demon reconstitutes itself repeatedly as a method of asserting control.
From this hanging form, a spider emerges. This is the most explicit indicator of how far the father’s body and identity have deteriorated during possession. The spider form is predatory and unstable, and it aligns with the demon’s behavioural escalation. The spider appears on the left side of the frame, which is designed to create a sense of threat crossing into the visual space Lina occupies.
Lina’s behaviour in this scene is minimal. She reacts to the auditory presence of the creature but does not visually register it. Her limited reaction is deliberate and emphasises that the visual spectacle is intended for the audience, not the character. After reacting, she continues walking forward.
This sequence is the largest transformation set-piece in the film. It marks the point where the demon’s influence becomes fully externalised and prepares the viewer for the final escalation. It also consolidates several symbolic threads: instability of form, the father’s loss of self, and the breakdown of spatial boundaries.
I ended up removing a large part of it in order to maintain quality and pacing, the spider doesn’t emerge anymore.